COVER IMAGE COURTESY: ANARCHITECT LLC, WHILE TARIK ZAHARNA WAS CO-FOUNDER. HE IS THE CURRENT FOUNDER OF T.ZED ARCHITECTS LLC.
AUGUST 20, 2016
12 THE THING
ANGLES OF INTERPRETATION
Stephanie Marin’s Les Angles explores the sphere of scenography reinterpreted in the traditional Majlis style of low-rise seating.
16 GID MIX
SHADES OF BLUE
Featuring pieces by Tom Dixon, Richard Orlinski, Des Pots, Pol Art and Duffy London, break out fresh colour into your homes this summer with an extensive collection of homeware and interiors in a medley of shades and hues of blue.
18 GID TRAVEL
CHECK INTO A PIECE OF ART
The right kind of atmosphere can set the tone for an entire trip. Gain new perspectives by staying at some of the most architecturally significant and design-forward hotels from around the world.
24 GID DECONSTRUCT
THE BOTANICAL TREND
A mossy green-coloured arrangement from Home Centre shows the sombreness and elegance of a not-so-frequently used colour. When decorated well, the room can be inviting and warm.
26 GID CRAFTSMANSHIP
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BETWEEN LIGHT AND SHADOWS
William Brand, the man behind Brand Van Egmond, showcases creativity without limits. Using light and shadows he creates exclusive handcrafted decorative lighting.
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32 GID FOCUS
44 GID REGIONAL
CHARTING THE SPICE ROUTE
Designed by Collaborative Architecture, Spice Route, a restaurant in the Barwa Village, throws light on beauty of intent and the downside of an industry that is not as proficient as it should be.
38 GID ARCHITECTURE
CREATING NEW DYNAMICS IN ARCHITECTURE
UAE-based architect Tarik Al Zaharna’s contemporary architectural language responds to programme and context. Blending innovation and history, he is creating new dimensions in the field of architecture.
THE GOOD ARCHITECT
Award-winning architect, academician, writer and researcher, Anupama Kundoo has sought a space for architecture outside the conventional realm. She is on a mission to achieve a sense of structural beauty.
48 GID PULSE
A TRADITION OF INNOVATION
Cultural concepts with a minimalistic approach, Karachi-based Coalesce design studio is a one-stop solution which explores design in different perspectives.
58 GID VIEWPOINT
RECONNECTING WITH PLAY
Evolving from years of perfection, experience and opportunity, style is a reflection of one’s personality and attitude. Bianca Angelo gives her views on establishing a unique design vision by finding your inner design child.
60 THE SPACE
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KNOWLEDGE AND FAITH
Featuring one of the largest mosques in Qatar as well as an academic facility, the Qatar Faculty of Islamic Studies mosque explores the innovative potential of space for learning and worship.
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PUBLISHER & EDITOR IN CHIEF
YOUSUF BIN JASSIM AL DARWISH
MANAGING DIRECTOR
JASSIM BIN YOUSUF AL DARWISH
MANAGER DR. FAISAL FOUAD
MANAGING EDITOR
DEPUTY EDITOR
SENIOR CORRESPONDENTS
SINDHU NAIR IZDIHAR IBRAHIM AYSWARYA MURTHY
UDAYAN NAG KARIM EMAM CORRESPONDENTS AARTHI MOHAN KEERTANA KODURU
SENIOR ART DIRECTOR DEPUTY ART DIRECTOR
ASSISTANT ART DIRECTOR
SENIOR GRAPHIC DESIGNER
VENKAT REDDY HANAN ABU SAIAM AYUSH INDRAJITH MAHESHWAR REDDY
PHOTOGRAPHER ROBERT F ALTAMIRANO
MARKETING & SALES
MANAGER SAKALA A DEBRASS TEAM
MATHEWS CHERIAN
SONY VELLATT
DENZITA SEQUIERA
ANIS MANSOURI
IRFAAN A H M
NISHAD N P
JASMINE VICTOR
EVENTS OFFICER
ACCOUNTANT PRATAP CHANDRAN
DISTRIBUTION DEPARTMENT
BIKRAM SHRESTHA ARJUN TIMILSINA
BHIMAL RAI
BASANTA POKHREL
PRADEEP BHUSAL
GLAM INTERIORS & DESIGN IS PUBLISHED BY ORYX PUBLISHING & ADVERTISING CO. WLL. The contents of this publication are subject to copyright and cannot be reproduced without the express permission of the publisher and/or license holder. All rights reserved with Oryx Publishing & Advertising. The publisher does not accept responsibility for any advertising contents carried in this publication. Contact info@oryxpublishing.com www.issuu.com/oryxmags www.facebook.com/gidqatar Call us: +974 44550983, 44672139, 44671178, 44667584 Fax: +974 44550982
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FROM THE DRAWING BOARD
E D I TO R ’ S C H O I C E
As Glam Interiors and Design puts the spotlight on exceptional designs and creations in the region, the magazine also touches on the challenges that the industry faces. In light of the current economic upheaval, projects have been abandoned halfway through or put on hold, thus contractors are not compensated according to the payment cycle, making it difficult for even large contractors to absorb the losses. While this a contractor’s gripe, on the other hand we talk about a project that is not as the architect had envisioned due to the lack of detailing skills in the work done. We bring you an architect’s view of the lack of high-quality workmanship in the country. In contrast we also bring you projects of finesse: glamorous interior spaces from Dubai, exquisite architecture in India and the beauty of sculptural light pieces all the way from Denmark.
My favourite space from all my travels is this environmentally friendly property in Sri Lanka – the Heritance Kandalama, an architectural masterpiece by world-renowned architect Geoffrey Bawa.The property is so integrated within its surroundings that it seems to grow with its foliage. A beautiful must-visit location. Picture Credit: Heritance Kandalama, Srilanka.
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As the holiday season draws to a close we bring to you resorts from around the world that have piqued our architectural sensibilities. Pack your bags yet again and go on a design-centric holiday. And don’t forget to take Glam Interiors and Design with you.
SINDHU NAIR
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GRAPEVINE
HOME FASHION WITH A SOCIAL CONSCIENCE The sustainable wood furniture range from The One carries a wide range of furniture made from Verification of Legal Origin (VLO) certified wood. The eco-chic “Good Wood” collection features a host of products ranging from dining, coffee and side tables, desks and dressing tables, to entertainment units and display cabinets that have all been created using wood from managed forests or plantations and not from illegal logging. Independently audited by TÜV Rheinland, documentation of each piece of wood ensures that it can be traced back to its source, so tree lovers can be rest assured of the entire process. So look out for the Good Wood tag on selected products and join the home fashion brand in saving our forests for future generations.
GEORG JENSEN INTRODUCES THE NEW ZAHA HADID COLLECTION Organic and powerful, each piece in the Zaha Hadid Collection of five rings and three cuff bangles takes inspiration from Hadid’s architecture, referencing the undulating silhouettes seen in many of her structures. As with the natural, fluid outlines of these buildings, her jewellery designs echo nature’s distinct sculptural forms. Just as ribbons of windows wrap each building, a “striped” relief encircles these new designs, creating natural light, shade and a dramatic architectural line. The pieces, crafted in both sterling silver and black rhodium set with black diamonds, are carefully engineered to feel voluptuously tactile. In fact, the
way in which jewellery itself is worn is reimagined. “There was always continuity in Zaha’s work and the same is true of this collection,” says David Chu, Georg Jensen Chairman and Chief Creative Officer. “Her aesthetic aligned with the history of our jewellery designs, celebrating nature’s seemingly simple yet mathematical forms. And our partnership honoured a century of collaborating with designers whose vision transforms the way we think.” The Zaha Hadid Collection for Georg Jensen was her first collaboration with the Danish design house and continues its rich heritage of exceptional design. GLAM INTERIORS + DESIGN
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FORM AND _BEAUTY Blending form and function Tesi, a collection of bathroom ceramics, furniture and fittings from Ideal Standard, is a versatile and affordable bathroom range. Created by designer, Robin Levien, it is a cross-category solution, with options which work perfectly in family bathrooms, cloakrooms and en-suites alike. The collection is slender, elegant and agile which is adapted to suit environment and lifestyle needs, performing effortlessly in every role and never failing to achieve perfect balance. Tesi ceramics integrate seamlessly with the range’s elegant and practical bathroom furniture. The furniture pieces bring smart, discreet storage to busy bathrooms. With a comprehensive range of units, there is a configuration to fit any room layout. Neutral, yet contemporary, the Blue Matt, Brown Matt, Glossy Light Grey and Glossy White finishes complement the ceramics’ sleek contours. Ceramic and furniture elements integrate harmoniously for a streamlined effect. Soft-close doors and drawers bring a satisfying sense of effortlessness to the whole experience. The collection uses contemporary shapes to update a design classic, creating a range of products which can be used to build a bathroom that is unique to its owner, while providing the ease of maintenance and timeless appeal that many end users look to obtain from their home décor.
THE VASMARA LINE Inspired by urban escapism, this new line by Versace Home presents furniture and furnishings for living, dining and bedroom with leopard and zebra print decor, leather and silk jacquards with gold. Innovative materials such as precious woods for the new cabinet bar are paired with neutral and vibrant colours such as khaki, purple, orange, haze and white. The VASMARA sofa is made of soft ivory leather with zebra prints on the front of its arms. The Versace Medusa comes in a silhouette shape set as a signature on all of the pieces. The VASMARA collection is available to order worldwide in all Versace Boutiques and selected authorised dealers. 12
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DESIGN ON THE RADAR From Helsinki and Mexico to Paris, London and more, it’s that time of the year again to pack your suitcase and get ready to travel around the world for the season’s best design weeks.
LO N D O N D E S I G N F E S T I VA L ( S E PT E M B E R 1 7-2 5 )
H E L S I N K I D E S I G N W E E K ( S E PT E M B E R 1 -2 )
D U TC H D E S I G N W E E K (O C TO B E R 2 2-3 0 )
The largest design festival in the Nordic countries, the multidisciplinary Helsinki Design Week hosts around 200 events. Founded to promote emerging talent and trends as well as international design collaborations, the annual event attracts around 120,000 visitors.
The Dutch Design Week, held in Eindhoven (the Netherlands) boasts over 275,000 visitors and over 2,500 designers, making it the largest in Northern Europe. The festival differentiates itself from other design weeks due to its focus on designs of the future.
VIENNA DESIGN WEEK ( S E PT E M B E R 3 0 - O C TO B E R 9 )
DESIGN WEEK MEXICO (O C TO B E R 5 - 9 )
PA R I S D E S I G N W E E K ( S E PT E M B E R 3 - 1 0 )
Austria’s largest design festival, attracting over 360,000 visitors, the Vienna Design Week is celebrating its ninth edition. Each year, the festival selects a district of the city to focus on: 2016’s focus is the 5th Viennese municipal district of Margareten, where the festival will be headquartered.
The Mexican design week aims at connecting artists, architects, designers and entrepreneurs with the general public by providing an accessible platform of events. In 2015, Mexico City was announced as the World Design Capital for 2018.
Organised to coincide with the professional trade fair Maison & Objet, Paris Design Week holds events in over 300 venues, located in five areas of the city. This year, seven countries/regions are in the spotlight: China, Ukraine, Estonia and Finland, the Flanders region of Belgium, Czech Republic, Lithuania and Denmark. GLAM INTERIORS + DESIGN
COURTESY- AFPRELAXNEWS
Founded in 2003 with the aim of promoting the city as a creative hub and gateway to the world of design, the London Design Festival is popular for its collaboration with the city’s museums and cultural centres. The “Landmark Projects” installations programme has seen commissions from some of the world’s best designers, such as Alex Chinneck’s “A Bullet from a Shooting Star” in 2015.
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HER PROJECTS POINT OUT THE NARROWNESS OF THE LINK BETWEEN ART AND DESIGN. FRENCH DESIGNER STÉPHANIE MARIN’S LES ANGLES IS A FAMILIAR LANDSCAPE WHICH EXPLORES THE SPHERE OF SCENOGRAPHY.
INTERPRETATION Modular pieces give the liberty to create unique space arrangements, building a universe that is playful and non-conformist. Stephanie Marin’s low-rise seating collection, Les Angles, is reinterpreted in the traditional Majlis style. It has a set of eight modules with soft polygonal surfaces that can be easily fitted together to form a paving using two diamond shapes for the base and to cover the surface of a floor, wall or ceiling. The shapes they take are non-periodic, giving them a singular and attractive look. The spatial configuration of the modules invites the user to activate their imagination and body to test the facets, explore their potential and then decide on their function to create personal landscapes. The entire construction is inspired by the Penrose tiling system. Covered in wool, they become an insulating and soundproof structure. Set in variable geometry, Les Angles can adapt to any environment, from private spaces to larger contract projects. “My perception of the sculpted waves of the Mediterranean Sea led me to the plane structures of the quasicrystals, or Harmonia Mundi’s representations”, said Stephanie. All her designs are not passive and quiet but catalysts for discovery and transformation. They pose as active participants in constructing and re-defining a space, retaining comfort and offering a contemporary design twist. Antidote Art and Design are the agents for the Smarin collection and are based in the UAE. GLAM INTERIORS + DESIGN
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A T O U C H O F A RT
Dress up your space with finishing touches of classic, handcrafted and ornate door knobs from Laura Ashley.
S TAT E M E N T P I E C E
A theatrical piece which blends both art and function, the Nemo chair from Natuzzi is sure to make heads turn.
A COLLECTED LOOK AESTHETIC APPEAL
Complement your personal style with the layout of your home by adding something unique to your interiors. With different heights, textures, colours and charm, here are a few pieces to turn your space into a statement.
A classic touch to your dressing area, this antique hand mirror piece from Fine Art Furniture adds character. You can use multiples of these to create interesting wallpapers as well.
ENHANCING TEXTURES
Woven material adds great texture to throw pillows. When paired with any neutral colour, these pieces from Laura Ashley are just what you need this summer.
T R E N DY D E S I G N
Keep on time retro style with this mounted wall clock from Habitat. It is versatile and can be used in any area.
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V E R S AT I L E S E AT I N G
Be it indoor or outdoor, these colourful poufs from Al Mana Galleria create a relaxing lounging vibe perfect for cosy nooks.
P R ACT I C A L A N D ST Y L I S H
Bringing in a bit of fun and charm to your interiors, this cute puppy doorbanger from Laura Ashley is sure to put a smile on friends and family.
V I N TA G E C O L L E C T I B L E S
These figurines from Living In Interiors look best when accented by modern or contemporary interiors.
P L AY W I T H L I G H T
Geometric designs are making waves in interior design. These lamp shades from IDdesign create interesting light shadows and invoke interest.
C U LT U R E I N S P I R E D
S TO R AG E I N S T Y L E
This minimalist piece from Habitat exudes refined elegance, making it a great complement to your dining area.
When you blend antique work with something sleek and modern, the result is sophisticated style. This console from Fine Art Furniture is perfect for your work area.
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A set of three space colour side tables handmade by Kare Design in Germany.
Blue glazed vase, made in Holland by Des Pots.
SHADES OF BLUE Summer is the perfect time to break out fresh colour into your homes. So dive into design with an extensive collection of homeware and interiors in a medley of shades and hues of blue. From bright candles by Tom Dixon, larger-thanlife beautiful sculptures by Richard Orlinski to bold vases by Des Pots and statement pieces from Pol Art and Duffy London, be bold and up your interior style quotient.
Khaled El Mays side table, handmade in Lebanon with candle holders and vase from Belgium. ARDECO first
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Blue candle holder made by Fancy in Belgium.
Arabic traditions
BELANKA swaying bed in blue made in France.
Bull and Stein’s large cherry sculpture.
Monolith Chair by Duffy London.
Richard Orlinski’s King Kong crystal edition art piece sculpture.
Strip Stool iron handmade by Orient, Lebanon.
Blue Pol Art coat rack made in USA.
THE DIVERSE SELECTIONS OF DÉCOR ITEMS ARE AVAILABLE AT BOTH CITIES BOUTIQUES IN THE UAE.
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GID TRAVEL
VACATIONS ARE ABOUT ESCAPES AND NEW PERSPECTIVES. AND A TEMPORARY ABODE WITH THE RIGHT KIND OF ATMOSPHERE CAN SET THE TONE FOR THE ENTIRE TRIP. IN THIS VEIN, GID PRESENTS SOME OF THE MOST ARCHITECTURALLY SIGNIFICANT AND DESIGNFORWARD HOTELS FROM AROUND THE WORLD.
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CHECK INTO A PIECE OF ART
A S U S TA I N A B L E VA C AT I O N
Even in this age when eco-hotels are getting more creative, Ecorkhotel is purely visionary. The Ecorkhotel uses cork in the outer covering of the main building, making it one of the few buildings in the world to have this use and the first in the field of hospitality. Cork is, of course, 100% natural and is a striking element in the design of the main hotel building and the surrounding landscape. The use of cork also acts as thermal and acoustic insulation, providing exceptional efficiency and a unique natural environment. The entire hotel was designed and built with maximum energy efficiency. It uses geothermal energy for heating and solar panels for hot water. Ecorkhotel, Évora, Portugal
C H A N N E L Y O U R I N N E R C AV E M A N
It might not be immediately apparent when you are staying at Fairy Chimney Inn, but your bedroom wall might as well be millions of years old. Built and run by a German cultural anthropologist who studied the traditional cave architecture and village life as well as the social changes in Cappadocia, not only is the property a design marvel but it is also as authentic as it gets. Situated in the upper south-west end of the village Goreme, big parts of it are carved out of one of these famous tufa rock cones, which are locally called ‘fairy chimneys’ (peri bahcasi). Most of the rooms are equipped with under-floor radiation heating and unique “Hammam-like” bathrooms. Fairy Chimneys Inn, Cappadocia, Turkey GLAM INTERIORS + DESIGN
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C H O OS E YO U R M U S E
The Hotel Puerta America is a huge, original and innovative project, a mellifluous melting pot of the design aesthetics of 19 renowned designers. The hotel has entire floors designed by John Pawson, Jean Nouvel, Ron Arad, Zaha Hadid, Norman Foster and Javier Mariscal, each varied in style and voice. The façade, created by Jean Nouvel, who is also the author of the 12th floor design, employs the architect’s favourite colours and a fragment of a Paul Eluard poem. The reception area by John Pawson is sober, elegant and all in wood. The first floor was entrusted to the famous Zaha Hadid and is totally fluid, pure and monochromatic. Up to the 12th floor, this museum-hotel offers a wealth of original creations with 315 colourful or minimalist rooms. The gastronomic Lagrimas Negras (Black Tears) restaurant, a Christian Liaigre creation, is an ode to the flamboyance of Madrid, adding to the totally original experience guests have in store for them. Silken Puerta America, Madrid, Spain
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I F I T I S G O O D FO R T H E H O RS E …
You know your hotel has the highest levels of posh when it comes with its own stables. Selman Marrakech is a super luxurious hotel experience in the countryside where it’s difficult to judge whether you or the horses have got it better. The stallions enjoy state-of-the-art stables by famed French architect Jacques Garcia – art nouveau meeting Moroccan heritage – and human guests benefit from Garcia-designed bedrooms – resplendent in Second Empire luxury – in addition to Morocco’s longest swimming pool, a sprawling Henri Chenot spa and 15-acre gardens. Selman Marrakech Hotel & Stables, Marrakech, Morocco
MAKING A MARK ON THE LANDSCAPE
Since its unveiling in 2006, this masterpiece created by Frank Gehry to house the Hotel Marqués de Riscal has become a highly sought-after contemporary, luxury retreat. Design, art, gastronomy, wine and the lush landscape all combine to create a memorable sojourn. The hotel’s luxurious interior bears the unmistakable stamp of Gehry’s design. Tilted walls, zigzag windows, cathedralheight ceilings and a host of bespoke details create the impression of accommodation as a work of art in its 43 rooms and suites. Marqués de Riscal, Elceigo, Spain
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GID TRAVEL
L E T T H E M O U N TA I N G O O D N E S S I N
Seamlessly blending into the pampa, Tierra Patagonia is an architectural marvel, generously dolling out inspiring views of Torres del Paine National Park and Lake Sarmiento from every corner of the 40-room lodge. The wood-clad walls emanate warmth, safety and protection – a cozy hideaway after a day spent discovering the amazing Patagonian outdoors. The essence of the interior decoration is inspired by the local culture, and the furnishings and textiles were handmade by Chilean craftspeople, using natural materials from the region, high-quality workmanship and inspiration from the surrounding estancias as well as the influence of the native Tehuelche people. Tierra Patagonia Hotel & Spa, Torres de Paine, Chile
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C O M E F O R T H E S N O W, S TAY F O R T H E S PA
There is no mistaking the façade of the Tschuggen Grand Hotel; it sticks out among the snow-covered like a wonderful alien spaceship. While the interior of the hotel bears the distinctive hallmark of interior designer Carlo Rampazzi and his trademark use of the finest materials, the highlight is the Tschuggen Bergoase spa facility by Swiss star architect Mario Botta who aimed at “building without over-building”. The materials used are Duke White granite stone from the Alps, Arosa rock, and Canadian maple. The light sails and connecting bridge are made of glass, allowing sky and mountain to get into the furthest corners of the spa and flood the four levels with light and breathtaking panoramic views. Tschuggen Grand Hotel, Arosa, Switzerland
AT T H E E D G E O F T H E W O R L D
The Flat Earth Society believes Fogo Island to be one of the four corners of Earth and Fogo Island Inn stands at the edge of that corner. Designed by Newfoundland-born, Norwaybased architect Todd Saunders, the 43,000 square-foot hotel is perched on stilts and hugs the North Atlantic coastline, affording all 29 suites with floor-to-ceiling views of sea and sky. Though radical in its design, the Inn still speaks to the traditional Newfoundland outport aesthetic. Two floors of guest suites sit atop the Inn’s stilts, a distinct nod to traditional outport fishing stages. The Inn’s sharp angles and rough contours feel at home amidst Fogo Island’s jagged and uneven landscape. Great care was taken to provide exceptional soundproofing in order to ensure that guests hear only the sounds of nearby ocean waves and all of the rooms were created using only natural materials such as wood, wool, cotton and linen. Fogo Island Inn, Newfoundland, Canada GLAM INTERIORS + DESIGN
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WHEN DECORATED WELL IT EXUDES SOMBRENESS AND ELEGANCE; IF NOT IT CAN POSE A SERIOUS DECORATING CHALLENGE. THIS ARRANGEMENT FROM HOME CENTRE SHOWS HOW A NOT-SO-FREQUENTLY USED COLOUR LIKE MOSSY GREEN FITS IN AS AN ACCENT HUE WITH THE ROOM ‘S NEUTRAL PALETTE TO MAKE IT INVITING AND WARM. 10 (ALL PRODUCTS ARE FROM HOME CENTRE)
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DAISY MOSAIC WALL DECORATION - QR799 2 FLEUR-DE-LIS METAL CHANDELIER - QR899 3 TRIVIA METAL TABLE LAMP - QR299 4 EPOCH HORSE - QR349 5 EPOCH HELICOPTER - QR199 6 OBLIQUE VASE - QR499 7 MARTHA DECORATIVE MIRROR - QR699 8 GRAND VIEW BAR CURIO WHITE - QR3,250 9 IRENE OTTOMAN - QR695 10 IRENE THREE-SEATER SAP GREEN SOFA - QR2,250 11 WELLINGTON COFFEE TABLE - QR2,450
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GID CRAFTSMANSHIP
BETWEEN BETWEEN LIGHT AND SHADOW BRAND VAN EGMOND CREATES EXCLUSIVE HANDCRAFTED DECORATIVE LIGHTING.
OWNER/DESIGNER WILLIAM BRAND’S CREATIVITY IS LIMITED ONLY BY HIS CLIENTS’ IMAGINATION. BY SINDHU NAIR
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William Brand, the man behind Brand Van Egmond, was here in Qatar while working on one secret commission and he tells us that his association with the country began a few years back, when “a special Qatari client personally requested me to create a lighting sculpture for their London residence, which turned out to be full of fine art”. That association has initiated a regular affair with Qatar, with Brand coming to the region for some of his special commissions. “They had seen some of our work over the dinner table in a Dutch palace and decided
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“My designs must have integrity, and an eternal value. I do not design for specific commercial reasons, just as we are also not an organisation primarily driven by marketing.”
contacting us. It was some time after this project was completed that we also were requested to craft the lighting sculptures for their beautiful residence right outside Doha,” says Brand, who founded a Dutch lighting design brand in 1989 with the intension of “creating art without restraints”. Brand’s passion and ethos run deep and he aims at providing solutions to generations ahead. “My designs must have integrity, and an eternal value. I do not design for specific commercial reasons, just as we are also not an organisation primarily driven by marketing. We are primarily driven to satisfy a client through an extraordinarily good and lasting design, and believe business will follow after that. I do not just think of my current clients when crafting new collections, but also of their children,” says Brand. Brand’s association with the region and its clientele goes back many years, “We have done more projects in the region at large than there are days in the year,” says Brand. “For over a quarter of a century we have crafted our lighting sculptures, and the Gulf was one of the regions that embraced our designs quickly.” “We see growth in demand for highend design in all GCC countries, and also strongly in Iran where we just opened a new boutique with a local partner,” reveals Brand. Brand goes back to the one reason he concentrated on lighting after graduating
from an architecture college He says, “I did work on architectural projects. The designing and crafting of lighting sculptures, however, quickly demanded more time. There was – apparently – a real interest in sculptural lighting. I still do the occasional architectural project, as some clients ask for advice on more than the lighting.” Taking us through stories of the conceptualisation of one of their products, the Hollywood collection, Brand says, “The Hollywood collection, born out of a trip to Africa with my family, was created years ago. Anyone who has spent time on this amazing continent will remember the vistas with branches of wood being swept by the wind. This stirred my imagination, and I wanted to capture that natural aspect and transform it into a collection. “Soon after, we were requested to light up the Oscars, and the VIP ‘Green Room’ where all the stars assemble. So even though we named the collection Hollywood for this occasion, in fact it
“Soon after, we were requested to light up Oscars, and the VIP ‘Green Room’ where all the stars assemble. So even though we named the collection Hollywood for this occasion, in fact it was named after finding many beautiful trees and branches in Africa.”
was named after finding many beautiful trees and branches in Africa.” Brand Van Egmond has had numerous collaborations all born out of the instinct for beauty and workmanship, such as the installation in Istanbul that is like a homage from the architect to the city he loves. “We are working on a commissioned installation at the moment, for the Museum of Modern Art in Istanbul. It is something we have worked on with the curator of this special exhibition and it will be interesting. I like to pay my homage to this city, which has been at the crossroads for centuries
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between East and West, with a unique installation.” According to the designer, the brand is the only contemporary atelier with a stand at Tefaf, the world’s most exclusive art and antique fair. “A unique setting, showcasing the best art of the last 400 years currently on the market. We have worked with them for many years, and in fact last month had a meeting with Tefaf and their architects regarding the fair in spring 2017.” Tefaf is popular with Qataris and Brand recommends the place for our readers. He says, “it will be worth the trip to Maastricht, one of the loveliest cities in The Netherlands!” He has expanded his skills and worked on a few furniture pieces, like the sculpture he is currently working on. “This big sculpture is over 9 meters in the form of a tree for a skyscraper. This sculpture won’t be raised to the ceiling, but will be situated on the ground and although it’s dressed in light, it is not the primal focus. This piece is very demanding, both in terms of creativity as well as technical feasibility, but together with my team I love working on it as it again allows me to wonder into a new world of artistic expression.” This intricate piece of work takes Brand back to ‘chandelier’, the first light form designed by his team. “It is quite some time ago, but I still literally feel the curves of this piece in my hand. It was picked up as a completely new idea on what lighting could mean for a space and the choice of material – rusted steel – was unheard of. Also, it was immediately clear that many people wanted a tailor-made light perfectly fitted for their specific space. This aspect of customisation is still very much part of our atelier today.” Brand van Egmond works only to order basis with no mass production at his atelier, which means that the brand does not keep stock. “A lot of our energy is
focused on training our craftsmen. At the same time we are very good at translating the wishes of our clients into handcrafted reality; this means that within six weeks we are ready to ship,” shares Brand. While indeed the brand offers lighting solutions to some of the world’s most renowned luxury brands (like Louis Vuitton and Chopard), they have a few exclusive and even more precious buys when people invite them to give light to their intimate home spaces. “We actually have a very eclectic clientele, which includes people who actually save money to purchase one of our lighting
“Over the years we have lit several beautiful houses of worship. Centuries-old churches are an example, and we are currently working on a temple in India. I still did not have the honour to create a lighting sculpture for a mosque though, but I would relish the request to do so.”
sculptures,” he says. Sustainability is the much talked-about aspect and how does it figure in lighting design? According to Brand, it is quite simple: The most sustainable design is simply a good design. “People purchase lighting from us, which in many cases they will keep for the rest of their lives. In fact, we see a lot of our work being handed over to the next generations, an aspect that I am particularly proud of. Rather than design items that are merely fashionable and trendy, I want to design future heritage pieces that last.”
This, according to Brand, is one of the more logical ways to act upon the idea of sustainability. What’s the next thing that a lighting artist can come up with? “It depends what my next client comes up with,” he answers. “Many of the new collections and changes, are actually a direct and literal result of a client who is unsatisfied with what lighting he or she till now has seen.” “To give you a glimpse behind the scenes, we currently have an older couple who are leaving their country estate to move back to their NYC apartment. They have asked me to create a lighting sculpture based on their favourite tree which they will miss a lot. Again, a challenge, but it gives me a huge amount of creativity and energy to make this couple happy,” reflects Brand. What about designing something beyond lighting solutions? “I actually enjoy using archetypical elements, forms that people at least subconsciously recognise and can relate to. The Floating Candles is an example of a candle people used in many homes, but also the Sultans of Swing has an element that people in every corner of our wide world can relate to. I am keen to use better technologies – especially in relation to applying finishes like red copper and gold.” Brand continues, “Over the years we have lit several beautiful houses of worship. Centuries-old churches are an example, and we are currently working on a temple in India. I still did not have the honour to create a lighting sculpture for a mosque though, but I would relish the request to do so.” Brand says he goes beyond the conventional needs while designing: “I do not just think of my current clients when crafting new collections, but also of their children. Besides, I like to surprise…” GLAM INTERIORS + DESIGN
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A RESTAURANT IN BARWA VILLAGE DESIGNED BY COLLABORATIVE ARCHITECTS THROWS LIGHT ON THE BEAUTY OF INTENT AND THE DOWNSIDE OF AN INDUSTRY THAT IS NOT AS PROFICIENT AS IT SHOULD BE. BY SINDHU NAIR
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Tucked in between discreet stores in the dark and unlit shopping complex of Barwa Village, conceptualised to move the shopping district away from the centre of the city, is Spicy Route. Touted as a mid-to-high-end Indian eatery joint, the location is the only aspect going against it. This restaurant attracts you as you pass by and makes you stand still for a moment to catch a glimpse of the interiors. Bright and curiously aesthetic, each feature inside makes you want to experience the space, throwing light on the intrinsic effect that design has on ones senses. Collaborative Architecture, renowned worldwide for their ground-breaking designs, for moving away from the norm wherever possible, were the creators behind this restaurant. Husbandwife duo, Mujib Ahmed and Lalitha Tharani, who head the firm explain GLAM INTERIORS + DESIGN
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in brief: “The clients, an influential Qatar family, approached us to design this project after coming across the multiple international award-winning restaurant project designed by Collaborative in south India, which GID had featured last year – Inverted Topography. The brief was to design a highly innovative and contemporary Indian restaurant. The client was quite clear that the design does not get interpreted through tried and tested kitsch Indian motifs and iconography populated through the space. The design should rather be deciphered in a highly abstracted, design-centric way.” For the local Qatari investors, Jassim and Khalid, this was a first investment in
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the field of Food and Beverages, and they were excited by this new venture. “This project is part of our family investment and it is a completely new area for us to invest in such a competitive field. This field of business is so feasible and it can be successful if it is planned and envisioned well from the beginning. To achieve the success in this area, you need to select the right partner with you who has the know-how and then after that you need to select the right place and location,” says Jassim. Keeping to the traditional, Collaborative first zeroed in on the material palette. “We selected a material palette, which would relate the space to the cuisine, hence the reference to
“The ubiquitous Spice Jars with the diffused glow at the base form the backdrop for the dining space, giving the restaurant its unmistakable tag and the origin of its name Spicy Route,” explains Lalitha Tharani. copper and copper palette has been widely stressed upon throughout the design (and branding as originally designed). The lights, which were custom designed and fabricated, form much of the ceiling of the restaurant, imparting a warm diffused copper glow throughout the dining space. The ubiquitous Spice Jars with the diffused glow at the base form the backdrop for the dining space, giving the restaurant its unmistakable tag and the origin of its name Spicy Route,” explains Lalitha Tharani. According to the architects, the project as it is executed today is only 50% of the original design intent. “The design got highly compromised, as the project had an inordinate delay and financial stress GLAM INTERIORS + DESIGN
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on the clients owing to heavy idle rental they had incurred.” Lalitha explains, “We had a highly innovative screen designed to give privacy and segregation of family or group diners, which was unfortunately not realised, along with the dynamic copper and Corian-fabricated staircase, which also got scrapped.” The absence of a design integrity is visible as you step in, with parts of the restaurant finished beautifully while other major portions seem to be conspicuous with the absence of any particular character. “The flooring was supposed to be a warm granulated BASF in situ floor, which again got substituted for standard cold vitrified tile,” laments Mujib. Going on to the challenges of designing in the Middle East, the architects, quite fearlessly talk about the lack of professionalism in the construction sector. Mujib says, “It wasn’t a real challenge to design in a restricted space; the challenge is to design a highly innovative project in the Middle East on a smaller scale and to get it realised with the design intent intact. The infrastructure is virtually non-existent.
“Most of the material had to be imported. We selected the best-known contracting agencies in Qatar, who bungled at every conceivable instance, as they haven’t done a project of this detailing and finesse before.”
ORIGINAL LAYOUT The conceptual plan as given by the architects which was not executed in details. 38
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It is a cookie-cutter, or overtly simplistic, design market at that scale of the project. On the other hand, an innovative project can happen at an impossible premium cost, which most of the new businesses can’t afford.” Pointing to the lack of detailing and almost non-existent work ethic, he says, “Most of the material had to be imported. We selected the best-known contracting agencies in Qatar, who bungled at every conceivable instance, as they haven’t done a project of this detailing and finesse before.” It was a difficult game; of Collaborative having to push the contractor and clients to stay within the design guidelines, with the clients trying to manage the bleeding capital and the contractor always looking for easy ways out and executing a basic job by cutting down on the design intent, rather than focusing on a great delivery. While the end product is indeed a beautiful interior space reflecting the cuisine that is to be served, for the purist there are gaps in design and workmanship which reflect on the standards of work execution in the country.
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GOOD BALANCING NATURE, HUMAN INTERVENTIONS AND TECHNOLOGY, ANUPAMA KUNDOO IS ON A MISSION TO ACHIEVE A SENSE OF STRUCTURAL BEAUTY. BY AARTHI MOHAN
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The mere idea that buildings are not simply physical objects, but artifacts with meaning dispersed across some larger social text, is enough to prove that architect Anupama Kundoo has sought a space for architecture outside the traditional and conventional realm. Torn between Mathematics and Fine Arts at an early age, her journey into architecture was an act of spontaneity. What she likes most about it is the synthesis of all its aspects, in one holistic project, bringing imagined ideas into reality. An award-winning architect, academician, writer and researcher, Kundoo’s work rises above predictable style, and is inspired by unique contextual awareness. According to her, form and function should be seen as two aspects which manifest materially. Just like our bodies are the material aspects of what we are, form and function simultaneously affect each other. In most projects Kundoo tries to employ local skills and craftsmanship; however, due to her design approach and aesthetic sensibilities she prefers to engage these skills in a structural manner rather than for mere decoration and external beautification. “I don’t want their work to look like add-ons that are framed on the walls and floors superficially, but rather want their work to be an integral part of the design solution, an inseparable component of the creation, and not an item that may or may not have been applied or used”, she says. “To use materials that are abundantly available in the vicinity is common sense. Architecture is centrally concerned with creating the voids that human activities need to inhabit, and so it is unnecessary to choose materials out of personal fetishes and frivolous preferences,” she explains. What is useful in architecture for human life is the part that we don’t build, ‘the space’. The materials are there to frame, define and shelter it from the elements. Kundoo’s approach to “The choice of local materials does not design has more to do with use of local mean that they must be used traditionally. materials and capacities in combination Using modern engineering could allow with the latest technical research and their use to stretch their utility and engineering knowledge to achieve a produce many more square meters with lot more with a lot less. “The choice of local materials does not mean that significantly less use of resources.” they must be used traditionally. Using modern engineering could allow their use to stretch their utility and produce many more square meters with significantly less use of resources”, says this socially conscious person. Besides direct economic and environmental cost benefits, large-scale urbanisation comes with an inevitable transformation of socio-cultural landscapes. For Kundoo, what we are seeing now is an unprecedented rate of migration and urbanisation worldwide. She feels, “This is a complex and necessary area of reflection in today’s times where there is also concern about identity issues and grounding projects. It is worrying that buildings and even urban areas look alike regardless of whether they are in China, Singapore or Dubai”. Kundoo’s engagement with awareness of the impact of buildings on the environment has been driven by the belief that efficiency and sustainability GLAM INTERIORS + DESIGN
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“I am concerned by the drift that has taken place in our times between ‘good architecture’ and ‘green architecture’ where one sees a lot of green buildings that don’t fulfil other important architectural criteria or one sees iconic and outstanding architecture that neglects its environmental impact, leaving these issues to be added on and solved by technicians of energy systems.”
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SOCIALLY CONSCIOUS Left: Braille Library. Below: Aupama’s other residential projects- Kranti homes, Samskara house. Right: Shah houses.
are indicators of good design and not a matter to be left to ‘alternative’ architects alone. “I am concerned by the drift that has taken place in our times between ‘good architecture’ and ‘green architecture’ where one sees a lot of green buildings that don’t fulfill other important architectural criteria or one sees iconic and outstanding architecture that neglects its environmental impact, leaving these issues to be added on and solved by technicians of energy systems”, she says. Preferred to be called a ‘good architect’ rather than a ‘green-architect’, Kundoo believes that a good architect must automatically take care of buildings in their context, and be concerned about the social and environmental relevance of proposals. She is one of those architects who gets inspired by her own imagination. Some of her favourite architects include Charles Correa, Charles and Ray Eames, Antonin Raymond, Le Corbusier, Laurie Baker and Roger Anger. She feels that they have widened horizons and set new standards. Revealing both her ongoing quest for knowledge about buildings and building knowledge within the community, Kundoo’s extensive portfolio of her experimental works include ‘Full Fill Homes’, ‘Samskara, Made in India’, and ‘Library of Lost Books’ and the two new houses are Residence Kranti, Shah Houses and a library in Pondicherry. She became wellknown for ‘Wall House’, a handmade brick and terracotta building that she created for the 2012 Biennale. One of her dream projects would be to build housing projects in a megacity like Mumbai for both high-end users as well as low-income groups to demonstrate that it is possible in terms of sustainability and high-quality living within constraints. She feels that the lack of knowledge, lost collective wisdom, high consumption lifestyle and general apathy are some of the challenges faced when designing “I work to develop myself and do my bit in for environmental sustainability. society. I love being an architect and I am “We have been living in tune driven by my own aspirations and with nature for thousands of standards for good architecture which is years and in the last 100 years we constantly evolving as I evolve. I am have forgotten many things and created habits that we think we shaped by the kind of architecture I do, as cannot discipline now with new much as the kind of architect I am.” knowledge, and we realise that certain lifestyle demands come at a cost that we cannot pay, and we dont directly see the damage which we create, as happens elsewhere,” points out the architect. Kundoo does not believe in working for external recognition or being remembered by others. “I work to develop myself and do my bit in society. I love being an architect and I am driven by my own aspirations and standards for good architecture which is constantly evolving as I evolve. I am shaped by the kind of architecture I do, as much as the kind of architect I am. The most rewarding thing for me is to be given new opportunities and offered new commissions so that I can continue to create the kind of spaces I imagine and like to offer society, for their use and enjoyment” she says. GLAM INTERIORS + DESIGN
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Wall House: This residential building is the result of extensive research and experimentation in three main areas: ecofriendly building materials and technology alternatives to the current building trends; energy efficiency; and climate responsive building language. Furthermore, the quest was aimed at replicability in urban as well as rural areas. The double height volume of the house enhances the air stack movement, and increases the draft of ventilation. Catenary vaults using hollow clay tubes have been used for climatic insulation as well as to reduce the unnecessary use of steel in pucca roofs. There are vaults in the ground floor where Achakal bricks (ancient brick that is still manufactured locally and used in ornamentation work) are used structurally. The flat terraced roof over the guest room has been built using hollow burnt-clay trapezoidal extruded modules over part pre-cast beams as in a jack arch, that were specially manufactured locally for the purpose of finding insulated roofing solutions to flat roofs. Wall House also demonstrates innovation in the definition of the building programme for a residential house, as well as the transition spaces between the inside and outside. Borders and transitional spaces are defined in a new way. The stepped terracing continues from the surrounding terrain, penetrates through the house and continues on to the other side. The outside penetrates the inside, so to speak. The programme for the transition spaces is larger than the enclosed spaces. The window shutters are a series of options that can be seasonally regulated just as we do with our clothes for providing climatic comfort. And a skin that is alive and breathes, and an architecture that is dynamic and responsive to the changing human needs and comfort. These developed techniques turned out to be cost-competitive; although they were designed for sophisticated projects with big budgets, they were appropriate for use in social housing projects as in this case.
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GRASPING HISTORICAL CONTEXT WHILST EMBRACING INNOVATION, UAE-BASED ARCHITECT TARIK AL ZAHARNA’S CONTEMPORARY ARCHITECTURAL LANGUAGE HAS A PURPOSE. AARTHI MOHAN 46
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philosophy is to interpret and treat architecture as a craft that responds to programme and context. The uniqueness of his designs stems from striving to reach a balance between staying up to date with new technology and referring back to the craft methods of architecture. Tarik Al Zaharna’s love for sketching motivated him to move into architecture as a career and passion. He not only loved drawing spaces, but also envisioned how people would live
within these spaces. “I have always been conscious of space, and the role of buildings in the built environment. I was fascinated by what buildings and materials did and how they influenced behaviour. It came to me quite early on that the most successful architecture is in fact non-architecture, or buildings that were less of a statement and more of a beautifully executed solution as a result of a combination of spatial, material and light compositions”, he says. According to this architect, the challenge is not to create iconic and GLAM INTERIORS + DESIGN
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“I am a great advocate of the use of materials that are in their natural state and am always on the lookout for new ones.”
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aesthetically unique pieces but to interpret at best the needs of end-users at and enable them to engage and activate the space. The relevance of a building stands in its legacy. Being grounded in the viewpoint of work hard in silence and let success make all the noise, regardless of a particular style, Tarik approaches every project with a new and fresh pair of eyes treating the brief as an opportunity while referencing the achievements and learnings from past projects. After a quick realisation that there is a real demand for contextually relevant and detail-rich projects in the region, he setup his firm, T.ZED Architects, which is the second practice established in the Middle East. We wanted to fill this niche. “We are a design and research-driven practice that focuses on producing wellexecuted, material and detail-oriented projects in the region and internationally. Through designing, research and function we explore new architectural solutions to client briefs. We are not limited by project scale and are driven by programme and context. Some of our smaller projects have been catalysts for other much larger ones as a result of our attention to detail and our willingness to always investigate novel ways of using materials”, says Tarik. “I am a great advocate of the use of materials that are in their natural state and am always on the lookout for new ones. A material’s durability and authenticity are its essence. With this view, materiality and function overlap. The right composition of materials will define the functionality of the space”, he says. Not a believer of trends, Tarik feels architecture should evolve and withstand the test of time. Tarik’s appreciation for Oscar
Niemeyer and Carlo Scarpa has translated into an admiration for their work. He has also been studying closely the works of Peter Zumthor and Isay Weinfeld. Other favourites include Marcio Kogan and Alberto Kalach. He is the founder member of the Design Ras Al Khor (DRAK) collective, an initiative established by four UAEbased designers, which aims at drawing attention to the creative district potential of the Ras Al Khor Industrial Area. DRAK endeavours to become a progressive design movement that encourages research, innovation, and material exploration. “I believe in forming such initiatives which will be far-reaching in its presence and involvement in the design industry globally” he says. T.ZED Architects is in collaboration and partnership with Fikra Design Studio and is developing a series of research-based initiatives and educational programming with the aim of investigating and promoting the region’s culture and
“The region has a fastmoving and versatile built-up fabric that is projecting forward. We are all makers of the cities we live in and are playing our part in connecting the dots . The result is an invested interest in contextual, meaningful design with purpose in whatever form that may come in,” he explains.
URBAN ZAHARSCAPES Tarik Al Zaharna’s varied projects include the No.57 boutique cafe, S’wich Gourmet, AKIN and the DIFC residence.
identity of architecture, graphic design, and beyond. His work experience spanning across Europe, North America and the Middle East has enabled him to practice architecture globally and to be invited as a critic internationally. A few of the most exciting projects for me include a recently completed project in Qatar for a very forward-looking private client, which is in line with our vision to develop
a new regional modern architecture. Another one is a residential penthouse in Index Tower in the Dubai International Financial Centre (DIFC) in Dubai, which became an award-winning project for Best Residential Project in 2014, and was a true testament to our capabilities in architectural practice”, says Tarik. To him, good architecture is all about working and engaging with the context. By living and working in the region, the (urban and rural) landscape acts as our context. The region has a fast-moving and versatile built-up fabric that is projecting forward. We are all makers of the cities we live in and are playing our part in connecting the dots . The result is an invested interest in contextual, meaningful design with purpose in whatever form that may come in”, he explains. This architect is now in the process of creating his dream project, a mixed-use project consisting of commercial, private, residential and hospitality components for a visionary client in Dubai, who has a forward-thinking approach to materiality, and sustainability. This is something that has not been delivered before in the region or globally. Aspiring to develop and form a regional contemporary architectural movement and taking it through its paces in order to catch up with contemporary counterparts at a global level, Tarik has positioned himself as a young pioneer in the steadily growing Design and Architecture scene of the Middle East. GLAM INTERIORS + DESIGN
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A TRADITION OF INSPIRED BY THE IDEA OF LESS IS MORE ,
COALESCE DESIGN STUDIO FUSES CULTURAL CONCEPTS WITH A MINIMALIST APPROACH TO CREATE NEW ARCHITECTURE. BY AARTHI MOHAN
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A team of five partners from different design backgrounds under one roof, pushing past traditions to deliver cutting-edge solutions and challenging the perception of design, aptly defines what Karachi- based multi-faceted design studio Coalesce stands for. What makes the studio unique is the structure of amalgamation which is rendered through a diverse team of designers, architects, artists and craftsmen. Building upon Pakistan’s rich culture and local craftsmanship, the studio was established in 2008 in Karachi by five young professionals, Salman Jawed, Bilal Kapadia, Hassan Feroze Lakdawala, Rai Yasir and Mustafa Mehdi. Their design approach aims at using a myriad of honed skills to produce works of international standards and to put Pakistani design on the world map. Principal architect and founding partner Salman Jawed recalls his student days at the Indus Valley School of Art and Architecture, where he met his future partners and started to work commercially on a freelance basis. “It is where I got hands-on experience in construction details and techniques”, he says. “It was a great learning experience for me. I would usually team up with other freelancers and my first project was with Bilal Kapadia, my partner, who was also a student at that time.” Collaboration is the core strength of Coalesce. Each partner gets to design a piece once the idea has been finalised. Further collaboration occurs with other designers like ceramicists and textile and graphic designers in different exhibitions. Commenting on their design philosophies, Jawed says, “Most designers explore the idea of space as it is the very first interaction a user has with the surroundings. It is very important for us to explore this concept, as the ambiance hits the user not only visually but spiritually and sets the tone of the enclosures whether good or bad. Due to the age of technology the world has
DYNAMIC TEAM From left:The brains behind studio Colaesce includes Salman Jawed, Bilal Kapadia, Hassan Feroze Lakdawala, Rai Yasir and Mustafa Mehdi.
INNOVATION “The creative process starts with a combined discussion and once the idea has been finalised, dedicated teams and tasks are formed. Specific architects and designers are assigned to each project but everyone is involved in every project at some level which makes it very dynamic.”
gotten smaller, thus it has become very easy to see what people in other parts of the world are doing. Due to this it has become very hard for us to come up with designs which can be called original creations. That is why we fuse ancient concepts with our modern approach not only to make it our signature approach to designs but how the user can relate to cultural heritage.” For a designer to incorporate cultural spirit into a contemporary design one has to first understand the concept of its history of how it was born. What was the idea behind it and why was it important? Most of the firm’s creative
inspiration comes from their travels where they get to experience the local cultures. “Travelling really has opened up our minds to what is happening around the world and how we can apply these approaches to our projects to make them unique and efficient for users” says Jawed. Their creative process starts with a combined discussion and once the idea has been finalised, dedicated teams and tasks are formed to take it forward. Specific architects and designers are assigned to each project but everyone is involved in every project at some level which makes it very dynamic. The studio’s project portfolio ranges GLAM INTERIORS + DESIGN
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“The lines between mission and environment have blurred as times have changed and businesses have evolved, allowing greater opportunities for clients to make deeper, more meaningful connections with consumers,” says Jawed.
from residential and commercial to retail brand, restaurants and collaboration with brands. They also have a product design department through which they have been exhibiting all over the world. “Most of our projects have been fun to work on and our process makes it more interesting but one of our favourites would be the Pakistan Pavilion we curated at the Dubai Design Week. We collaborated with graphic designers, a ceramicist and a textile designer and created an installation coined as Dalaan which means a courtyard where all doors open. We took inspiration from our cultural games and derived designs and the result was a unique experience. We will be showcasing the same concept at the London Design Biennale in September” he says. Jawed was the curator of the pavilion. Through the exhibits, viewers had a chance to feel the energy that Pakistan’s games contain. “We worked on each piece together since each designer has different memories and associations with the lattoo. We explored different forms, textures, colours and materials and brought them together. Using metals and reflective surfaces as part of the concept, some of the objects reflect the other lattoos around them with the forms overlapping. Most important is the arrangement and how the users interact with each form”, he adds. Another prominent project is the Kapadia House, situated in the KDA
Officer’s Society on 600 sq yds. This apartment-like residence is the culmination of strong design tools used to sensationalise a visual experience through provoking different senses. Evocative of a beach house (as per the client’s request), the abundance of natural light, the constant gush of wind, an external terrace, and the calming white exterior advocate calm and peace within a private neighbourhood. Comprising of a team of youngsters, Coalesce is an example for aspiring architects to work hard with a lot of patience and good attitude. “We have been striving to set up a cohesive studio that looks at design from all aspects. The lines between mission and environment have blurred as times have changed and businesses have evolved, allowing greater opportunities for clients to make deeper, more meaningful connections with consumers”, says Jawed. Speaking about the emerging design scene in Pakistan, Jawed feels that there is a lot of development work that is happening in the real estate sector at the moment and there is a huge influx of foreign brands making their way into the market which has led to a lot of new opportunities in design and architecture. “Design is changing and evolving as we speak and it will keep on doing so. The key would be to capture the essence of culture in an idea and to depict it in the simplest and most basic manner. Colaesce design studio is just the right solution for that” says Jawed. GLAM INTERIORS + DESIGN
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THE QODE WORKSPACE SHOWCASES FUN INTERIORS THAT MAKE WORK SEEM MORE LIKE PLAY. BY SINDHU NAIR
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If you have an office in the Design District Dubai, it is safe to assume that the designs will reflect the highvolatile sensibilities of the inhabitants. UAE-based luxury communications and events agency, The Qode, recently moved into their new headquarters at Dubai’s fashion and design hub within a space designed by regional architectural talent, Vick Vanlian. Their versatile space showcases the stylish and fun ambiance of The Qode– reflecting their exclusive client base of high-end brands. The Qode started out as an agency specialising in fashion and cosmetics and now over the last three years they have worked with well-known brands such as Nada Debs, The Rug Company, Edge of Arabia, Cities and The Odd Piece, amongst others. They further expanded into other sectors such as Food & Beverage, Hospitality, Watches 56
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DESIGN SYNERGY A warm industrial style workspace punctuated by a selection of colourful artworks and abstract pieces gives these interiors a homey feel.
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& Jewellery and Travel. According to, Ayman Fakousa and Dipesh Depala, Co-Founders and Managing Partners, moving to D3 was the right choice to further facilitate creative collaborations in the new district, forge a closer link to their clients and accommodate a growing vibrant and creative team. In order to achieve this delicate design synergy, Fakousa and Depala worked with Beirut-based architect and interior designer, Vick Vanlian, to create a warm but industrial-inspired workspace. “I wanted to create a space that enchants and takes away from the hustle and bustle of the busy world outside the office. An interior that is avant-garde yet subdued, futurist yet familiar, daring yet timeless”, says Vanlian. With exposed ductwork in the ceilings, warm herringbone timber floors, and whitewashed walls punctuated by a selection of colourful artworks, the 58
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design brief was fun, luxurious and edgy. Combining the founders’ different visions into one made the project what it is now: a unique work space with great positive energy. The atmosphere in the office varies from corner to corner: A warm and welcoming feeling at the reception area, a spirit of camaraderie at the uniquely shaped main shared workspace “The Island”, the showroom which allows editors and stylists alike to see an array of The Qode’s brands, the conference room with a custom-designed raw wooden table with a specially designed base, and the uniqueness of each of the managing partners’ offices. The space is a mix of textures and angular shapes which are a signature of Vanlian’ s design. Each wallpaint treatment was carefully selected and created in collaboration with Jotun Group, giving texture to surfaces varying from concrete to linen to
While each corner of the space has its own quirkiness and design creativity, Vanlian’s favourite areas of The Qode’s office are Ayman and Dipesh’s workstations. “There is a processional walk that leads to the their offices that I find theatrical.”
white brick finishes. Adorning each wall is a masterfully curated selection of art from Cuadro Fine Art Gallery in DIFC with a playful mix of various formats from paintings, collage and photography by artists from across the globe. Even the scent of the office was carefully created, a mix of white tea and Nepalese amber, a signature scent to welcome guests on arrival. While each corner of the space has its own quirkiness and design creativity, Vanlian’s favourite areas of The Qode’s office are Ayman and Dipesh’s workstations. “There is a processional walk that leads to the their offices that I find theatrical. The meeting and greeting of all the team members until you reach the two brains behind the company, the
light at the end of the tunnel.” Explaining the playfulness in the design treatment, Vanlian says he wanted to create a space that reflected the ethos of the company; a unique and fresh ambiance with a mix of open spaces yet with privacy available when needed. With each corner of the office portraying different moods, a free flow of energy constantly prevails in the creative zone. While each of Vanlian’s projects is different, following the personality of the company or owner, a common theme in all of them is mixing different styles from the past, giving them the fervour of nostalgia yet combining the present pop culture with a futuristic approach, making them much more invigorating.
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RECONNECTING WITH BY BIANCA ANGELO DESIGN MANAGER AT QUANTO BELLO QATAR 60
GLAM INTERIORS + DESIGN
PLAY STYLE IS WHAT EVOLVES FROM YEARS OF PERFECTION, EXPERIENCES AND OPPORTUNITIES. IT IS A REFLECTION OF ONE’S PERSONALITY AND ATTITUDE. DESIGNER BIANCA ANGELO, DESIGN MANAGER AT QUANTO BELLO QATAR, TALKS ABOUT ESTABLISHING A UNIQUE DESIGN VISION BY FINDING YOUR INNER DESIGN CHILD.
Do we sometimes as designers, architects, decorators and creative thinkers stop being creative and allow the importance of function to overrule? Have we stopped seeing our jobs as the artist we once were, but rather the professionals we have become? Have we placed function before creative flow or ironing out impracticalities, which irons out what is unique? These thoughts crossed my mind as I was playing with my fouryear-old last night. We were playing imaginative art, sketching our “beauty salon” for her friends and she was asking me to add all her favourite areas to her party room. She was getting so involved and creative with her options and voiced ideas which may not have crossed my 34-year-old mind. She was seeing her party room as if it was her first. Not as just another client, with a similar business model, but as an open canvas to play. As I was taking in this time with her, I walked away from that moment realising that maybe I needed to reconnect with play. As a creative individual, I understand how designers get so emotionally attached to a project, the client and the design, because it is full of the things we care about. With each project I have been involved in, my personal style and interests seem to find their way into the task at hand. I have also, over the past 12 years watched how my design team personally develop and let go of their fears and allowed themselves to become confident individuals who care less about failure and people’s opinions and more about showcasing their creative talents and implementing form over function. I have also watched how unique designs and projects unfold – the more interaction and creative freedom my team have together, the better the project turns out. Arriving in the Middle East nearly four years ago, my design mind saw details and designs that were “new”, somewhat childlike. New to what my South African heritage had installed into me, and what my surrounding society considered as “correct design”. These designs were unique and fresh, yet somehow made me feel vunerable or scared as it was a form of design which was out of my “comfort zone”. I was back at the beginning, with my open mind soaking up every bit of Arabic and Islamic design. Intrigued with the uniqueness of the use of Mashrabiya patterns and the opulence of colours and textures being implemented, these new designs have allowed me to play creatively again with new forms and textures. The same way we all experienced the first day of school, feeling somewhat alone and then after time finding our confidence as we had “our friends” around us and mixed with people who understood us, the same applies to design. With Qatar’s mix of expatriates, I find myself interacting daily with designers who are constantly educating me on their “design style” or their countries styles and this is a constant reminder to be the creative individual that I am and never stop having fun: to daily implement the same freedom of expression as a child into my work, the same carefreeness that I once had when I was four, and the openmindedness to be unique. GLAM INTERIORS + DESIGN
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Designed by Mangera Yvars Architects, the Qatar Faculty of Islamic Studies mosque explores the innovative potentials of spaces for learning and worship. Opened in March 2015, this contemporary building features an academic facility as well as a mosque, which is one of the largest in Qatar. Winner of the “Building of the Year Award” under the “Religious” category and the MEED Quality Project of the Year award, this mosque is an innovative blend of modern architecture with Islamic roots. The mosque’s structure rests on five large columns representing the five pillars of Islam. Water flows underneath each pillar, which is carved with verses from the Holy Qur’an. The most prominent feature of this beautiful mosque is the twinkling lights that shine through the ceiling, giving an illusion of stars. Developed by reworking the historic Kulliyah (a place where all knowledge is sought), this mosque is at the forefront of contemporary Islamic discourse and a first of its kind. 62
GLAM INTERIORS + DESIGN